Django

Interesting, any idea if something similar is possible for the R6?

Well I guess according to that PDF on a "cold start": no overheat in 4K30p HQ. 60mn limit in 4K60p HQ. 12 minutes in 4K120p. 25-60mn in 6K RAW. Of course on a "hot start" those measurements will vary. So bottom line is they've improved substantially since R5 but we can't really say "no overheating".

Just saw the dpreview first impressions.. the rolling shutter is apparently double that of the photo mode so I guess twice as low as 1DX3 instead of 1/4 which is still pretty good. Jordan reports that he took the camera from Chris who was shooting stills for an hour and got an overheat warning after 4 minutes of 4K120p?!? Wtf...

"The rolling shutter distortion is reduced to about 1/4th of that of the 1DX 3" 😅 If indeed this doesn't overheat this will be a no brainer purchase for me as well! By the way, the pdf link is no longer working, can someone re-upload?

FWIW, I was shooting 8-bit for years on Sony's and Canons and when finally upgraded to a FS7 and R6, the difference for both S-log3 and Clog/Clog3 was night & day. The latitude, the colours.. it all gets enhanced and doesn't break anymore. This has allowed me to up my grading skills in Davinci by being able not just to push things harder but go deeper using qualifiers and more advanced techniques. To be honest, I don't even lust for RAW anymore and the associated storage headaches that go along with it. Chunky bitrate 10-bit can go a long way. And with the M1 Macs it's now a breeze to edit. I really hope Sony gives us a 10-bit option in A7 IV and other upcoming Alpha models. 8-bit is a thing of the past as far as I'm concerned and I've let go of all my 8-bit cameras..

Wasn't a thread started already about this camera? SAR states: launch in October (if chip supply permits this) Newly developed 33MP sensor 5.5 stops of IBIS (+ AS) I'm thinking Sony will have to implement 4K60p @ 10-bit. That would place it in direct competition with the R6. Any video specs below that and it's DOA. Anything above and it would cannibalise A7S3 sales.

Very interesting! Also wasn't aware the product finally came out. What about fan noise? Any chance you could post a video with what it sounds set to low/medium/high ? I wanna get this for my R6. PS: also curious about how it looks/works with the power bank

SOOC DR isn't great however what tests have shown is that the latitude when underexposing is really good especially considering the pleasing nature of the fine grain noise. Hence I've been able to recover loads of info in Davinci and actually have very nice DR in some otherwise complex scenes. Clog3 makes this even better imo. I'm basically very happy with the DR on R6, you just need to adapt how you shoot and recover in post if necessary. Interesting, I hadn't noticed the Titla fan finally came out (I thought it was vapourware but I'm guessing the pandemic delayed its release). I will wait on some real-world reviews but will definitely be purchasing it if it is proven effective.

It’s just the R5 and even cheaper EOS R didn’t have such artificial limitations. My biggest gripe on R6 is no custom video modes. Really miss that from my EOS R.

I've been shooting a lot with the R6 this summer including a run&gun event last week. The IQ I'm getting from the CLog3 10-bit 4:2:2 files is quite possibly the best 4K IQ I've gotten on any camera. The image is so clean, so detailed, with those great Canon skin tones. To avoid the poor RS I often shoot in 4K60p crop mode. I don't notice any line skipping either, really sharp detailed IQ on my 5K iMac Pro monitor. I must agree that for the price, the R6 outclasses all the competition in terms of IQ.

R3 video specs still awaiting. XH2. GH6. I don't think we really need new camera models from the big 3 at the moment.. however price cuts on let's say C70, FX3, A7S3 etc would be really welcome. not holding my breath I know.

Agreed. Nothing Mini about the UM just like the "Pocket". They're a PITA to use imo. You have the compromises of a big heavy bulky ENG cam with V-mount system but with no NDs or included EVF. The media is expensive. Many were plagued with magenta shift. I don't see any reason to buy one today over a 6K Pro unless you absolutely need SDI and even then I'd indeed go for the UM Pro if you absolutely wanna stay in the BM ecosystem.

I had a go at the FX3 and yes finally a Sony mirrorless body I felt comfortable with! The build quality is also a step up and the added air vent is reassuring. I could see myself switching back to Sony from Canon with this body. Paired with a FX/FS cine cam it would be a very strong combo for my line of work.

You must factor price when comparing R6 to the other two cams. For about 2K€ (what I paid for mine) the R6 is a pretty good deal imo. You get oversampled FF 4K, 10-bit 4:2:2, Clog/Clog3, IBIS, DPAF on RF mount. Only thing you lose really from 1DX3 is RAW. Overheating is real though. I've had it happen after around 1h of shooting continuous short 8-bit 4K clips (!) in a cool office. So I simply can't recommend these cams for certain pro applications. I'm still gonna keep the R6 but as a B-cam and for personal / travel purposes. The C-log3 update is quite interesting. the skin tones on the R6 is night & day with regular Clog. I'm really surprised at how much more natural they appear upon grading. Do R5 users notice the same thing? I don't remember such a difference on the C200.

Actually this is probably the most relevant opinion to my user case. I also do a lot of corporate and indeed found the 6KP to be overkill and cumbersome in file size / workflow. That said yes the camera and IQ is fantastic for the price. Battery life is of course essential in this line of work, do you have the grip on the BM? I'd think 3 Sony batteries would be sufficient for at least 3 hours recording no? I didn't mention the C200 which I've owned. If only it had 10-bit internal it would be perfect. The 8-bit 4K is really soft though and the 1Gbps CRL makes BRAW feel ultra light! I sold it and bought an R6 which has excellent 10-bit oversampled FF/S35 4K. Of course the overheating and record time limit means its only good for B-cam or short interviews. Hence my search for an A-cam. C70 ticks all the boxes but the price is a setback imo and I suspect a price drop will come sooner later.

Right, the BM 6K Pro is probably best bang for buck right now as far as IQ. But last commercial project I shot with one was externally post produced and of course they had no idea how to deal with BRAW footage, the terabyte files was also a nightmare to transfer with my slow capped DSL connection, so I ended up having to transcode everything to h264, which of course kinda defeated the whole point of shooting RAW in the first place. +4K RAW even compressed RAW just isn't at all practical for fast turnaround / external post projects. The 6K though allowed for great punch-ins so that's a definite plus. I think in the end the goal would be to own both, lol. They really do suit different projects and workflows. Apples & Oranges really. Thanks to all for the input.

The FS5 II is actually on my radar as well despite it only shoots 10-bit internally in FHD. Why? The eND alone could be a reason. Again I like to shoot fast primes wide open and the auto-eND could open up a world of shooting style. Another reason is it’s fantastic slow-mo capabilities. The end trigger via buffer seems genius. No more switching to 120p and editing through rubbish material for your 8 seconds of super slow-mo. It can even do 4k120 RAW bursts via external and up to 960fps which is insane. Definitely a rather unique camera that even trumps the FS7 (mk1) in some areas despite some codec limitations!

Panasonic themselves basically had to replace/ recall defective grips: https://www.cined.com/panasonic-is-replacing-eva1-grips-with-new-units/ no evf and the LCD was basically a mirror in outdoor use. Sorry but I’ll pick a brand new P6K Pro with warranty over a sketchy used EVA1 any day and will favor BRAW/ProRes & 1500 nit touch display over SDI. But in the end both use EF mount which is kind of a dead end for my various FF lens collection.

EVA1 was DOA when it came out due to EF mount and remains even more so today imo. Doesn’t help that it had build quality issues, no EVF and a terrible LCD display. The P6K Pro is basically a $2300 EVA1 in DSLR format with internal RAW and a quality 5 inch touch display.

I’m not considering it simply cuz it’s out of my price range. It’s in FX6 territory. Besides I already own a R6 that can do FF/S35 10-bit Clog/Clog3, uses RF mount, has DPAF, records to dual SD cards and has IBIS which the C70 doesn’t. With the vari-ND adapter R6 even gives you pre lens ND support for your EF glass. I just don’t see the point in investigating an extra 5.500€ just to gain extra battery life and a stop or two of DR. At least the P6K brings you BRAW/ProRes and 6K resolution.. for less than half the asking price. C70 should really be priced lower so it would actually compete with P6K, FX3 etc.. placing it above R5 which can do 8K RAW is nonsensical imo.

They did give it a rather nice follow-up: But I'm pretty sure that cam was also a flop at the $5K pricing with no internal 10-bit. That said, I find the DVX200 sexy as hell in a throwback MINIDV/3CCD cam way.. and I'm sure in the right hands this was/is a very capable and surely fun to shoot with cam..

Lens wise I’m all over the place: EF L series, Zeiss Bâtis E-mount, Leica M, Nikon AI-S etc.. As for manual focus, well I did an interview recently on the BM 6K with the Sigma 18-35. I’d say 80% shots were in focus but once you punch in there was at least a good 20% shots slightly OOF (as in focus on the nose instead of the eye). It’s actually lot more noticeable on 6K resolution were accurate focusing becomes real critical. Having your subject at +2m isn’t always optimal either especially on a medium wide like the 18-35. But yeah it’s not like the FS7’s AF was glorious like Canon DPAF or latest gen Sony’s. But it has saved my ass on more than a few one man run n gun situations.

As for FX6, not interested. I'm done paying full retail on "popular" cine cams. Too much investment lost already during pandemic. Not even ready to drop 4-5K on a R5/A7S3/FX3. It's either FS7 or 6K Pro I've decided.

@IronFilm I'm in both categories so the choice really isn't that easy. @seanzzxx I enjoy manual focusing as much as the other guy, and always had a follow focus rig on the BMPCC6K shoots with very pleasing results. That said there is no doubt AF can come in very handy for run n gun, gimbal or even solo interviews.. especially when shooting wide open on fast prime lens which is how I like to shoot most of the time.

Well fortunately I have hands-on experience with both cams and hence a well rounded idea of the pros & cons of each. It remains a tough choice as they excel in slightly different areas. The BM is closer to DSLR form-factor and the bright 5" touch screen is a major convenience. It has cheap modern storage options including straight to SSD USB-C recording. Main cons are no AF and EF mount. The FS7 is a much heavier cine cam but has shoulder mount rig capability. It has more pro I/Os: 2 SDI and 2 full XLR, audio level wheels, top handle with shotgun mic support etc. AF & E-mount are major pros for me. Main cons are small 3.5" display, slow clunky OS/menu (although dedicated buttons/switches mean less menu diving), no internal RAW/Pro Res, XQD media. IQ wise here is what I've rounded: FS7 : 4K DCI XAVC-I 10-bit 4 :2 :2 All-I (250mbps) CINE EI RS : 14ms DR : 12.1 @ 800ISO BMPCC 6K : 6K DCI BRAW & Prores RS : 19.8ms DR : 11.8 @ 400ISO / 10 @ 3200 In real use, a cleaner sharper more detailed IQ from the BM when shooting ISO400. 6K allows for greater punch-in capabilities. But with no AF, any focusing error and 6K RAW means nothing if your subject is OOF.